Ostensibly an homage to the principal creators of Belle de Jour, filmmaker Luis Buñuel and screenwriter Jean-Claude Carrière, Belle Toujours is, nevertheless, a quintessential Manoel de Oliveira film: formalist, dramaturgic, contemplative, and discursive. Continuing where Buñuel’s film left off 38 years earlier, after the sadistic scoundrel Henri Husson (Michel Piccoli) would whisper an undisclosed secret […]
Category: Film Festivals and Retrospectives
Acto da Primavera, 1963
In Le Quattro volte, Michelangelo Frammartino uses the staging of the Passion Play by the local villagers to bridge the ancient and the modern. This dialectic also provides the connective tissue in the Views from the Avant-Garde program, Station to Station, capturing the ancient tale as it unfolds in the streets of New York City […]
Chouga, 2008
A transposition of Leo Tolstoy’s Anna Karenina to the modern day city of Almaty, Darezhan Omirbaev’s Chouga revisits the urban alienation of Killer to create a spare and charming, if diluted exposition on the role of fate, materialism, and moral bankruptcy in post-Soviet society. The idea of an economic-driven natural selection is foretold in an […]
The Road, 2001
If the visual expression of artistic process in Federico Fellini’s surreal and reflexive film, 8 1/2 were to be distilled into the spare, elemental cinema of Abbas Kiarostami, the result would likely be similar to Darezhan Omirbaev’s evocatively muted, endearing, innately affectionate, and poetic film, The Road. A pensive director named Amir Kobessov (played by […]
Lola Montès, 1955
The tawdry, carnivalesque atmosphere of the traveling Mammoth Circus provides the ideal framework for Max Ophüls’s resplendent Lola Montès, serving as both a pungent deconstruction of the cult of celebrity and a demystification of an elusive woman. Revisiting scandalous episodes from her life through a series of kitschy, seemingly incongruous reenactments involving constructed stage props, […]
The Prodigal Son, 2009
Like Katrina Browne’s earnest and impassioned essay film, Traces of the Trade, South African filmmaker Kurt Orderson’s The Prodigal Son is less a journey to find ancestral roots – albeit from the other side of the slave trade – than an invitation for an open dialogue on race and reconciliation. Having lived his youth in […]




